lyric coloratura. The OperAria repertoire collection for all voice genres that was successfully launched last year has produced lyrical soprano progeny: From Adele to Zerbinetta, from Pamina to Mimi and Ellen Orford - the first two (of altogether four) soprano volumes contain a representative sampling of important arias from the multifaceted lyrical repertoire. Classical audition arias can be found there, just as vocal gems from opera rarities and arias of classical modernity, each one obviously reliably and carefully edited. Accessorizing one's own lyrical voice, the singer will find a wealth of material such as: information on the composer, the librettist, the work, the vocal range, on questions concerning versions and scoring as well as on the storyline, along with instructive tips from a singer's viewpoint provided by experienced voice teachers and a Phonetics Text Assistant on CD-ROM with diverse possibilities of use. OperAria is the ideal vocal coach for all voice types. Edited by Peter Anton Ling, the books address all singers and are conceived above all for training and auditions. In addition, through their careful selection, they offer valuable inspiration for opera recitals. / Date parution : 2019-09-06/ Recueil / Soprano Colorature

Soprano Accompaniment CDs-Soprano Volume 3. Two accompaniment Cd's in each package which match the books containing a collection of songs from the musical stage categorized by voice type. The selections are presented in their authentic settings excerpted from the original vocal scores.

Soprano Accompaniment CDs-Two accompaniment CD's in each package and work in unison with the Anthology music books and contain a collection of songs from the musical stage categorized by voice type. The selections are presented in their authentic settings excerpted from the original vocal scores.

Brian Elias 'Peroration' arranged for solo Soprano.Peroration was written in 1973 in response to a commission from Jane Manning to whom the work is dedicated. It was stimulated by a few lines from Robert Browning’s‘Dominus Hyacinthus de Archangelis’ (The Ring and the Book). The poem recounts the trial of a certain Count Guido Francdeschini who murdered his adulterous wife and his daughter to preserve his honour. The extracted lines fromthe conclusion of Count Guido’s defence are in the form of peroration. The use of Latin words and phrases so immediately followed by the English as to give the impression of simultaneous translation gave the composer the ideafor the musical form namely two almost simultaneous parts. The first and last sections of the piece contain a third part which acts as a kind of commentary. The different parts move between the English and Latin freely.

This landmark series collects compelling useful singer-friendly arias from a distinctly American opera tradition. Each volume includes information about every opera and an aria plot note. A majority of the music in the fourvolumes has never before been available outside of the opera vocal scores and some arias in the series have never been in print at all before now. Most arias are appropriate for college-level singers. Composers such as SamuelBarber William Bolcom Douglas Moore Virgil Thomson and Gian Carlo Menotti are well represented. Additionally arias are included from important works such as Regina A Streetcar Named Desire The Ghosts of Versailles TheGreat Gatsby Little Women and many others. Stephen Sondheim graciously agreed to adapt new aria editions of two pieces from Sweeney Todd for the series: ?The Contest? in the Tenor volume and?Epiphany? in the Baritone/Bass edition.A diverse selection of Arias from Operas by American composers for Soprano and Piano. Includes works by Gian Carlo Menotti Samuel Barber Kirke Mecham and Thomas Pastieri.

A work for Soprano Woodwind 2 Horns and Strings.Duration: circa 15 minutesProgramme Note: 'This work was commissioned as a possible companion piece to Mozart?s Exsultate Jubilate and the decision was quickly made to write something as a complete contrast. The poems chosen one anonymous from the early 16th century the other two by the famous Scottish poet William Dunbar [1460? 1513?] describe the promise of salvation after life?s dark passage. Each of the three poems echo this thought: ?In celum ther is joy with Thee? ?A short torment for infinite gladness? and ?Since erdly joy abides never Work for the joy thatlastès ever?. Thus in each poem the poet can overcome the fear of his inevitable death with the certainty of salvation: this work also has its ?dark? moments but the overall mood is one of calmness and peace. As with the words there are several musical motives that link the three songs. The musical motive for the refrain ?Terribilis mors conturbat me? in the first macaronic poem [also a salute to Mozart since the Exsultate is in Latin] returns a little higher and more despairingly in each verse until the last verse where it is played a whole octave higher. This motive reappears [played mostly by the oboes] in the last song but now the pitch of each repeat goes in reverse that is from high to low. The famous motive of the Gregorian chant Dies Irae [representing death] is used to accompany the prayer of the second song. A musical motive for the joy of Paradise appears in the second song ?A free choice given to Paradise or Hell?. There is also a ubiquitous 3-note chordal cluster which is used to illustrate the words: sometimes as a colour and

150th Anniversary Edition 1858 - 2008-With standard vocal/piano aria editions plot notes and English translations and with two CDs of full performances and orchestral accompaniments.Arias from: Le Villi - Manon Lescaut - La Bohème - Tosca - Madama Butterfly - La fanciulla del West - La rondine - Suor Angelica - Gianni Schicchi - Turandot .